Animation Industry Research Articles

Incumbents achieving coopetition with disruptively technological entrants: a case from Chinese animation industry

ABSTRACT A disruptive technology threat replaces incumbents. While a prior disadvantage of incumbent competing against disruptive technological entrants lacks an effective incumbent’s competitive response. This research studied the case of a Chinese top animation firm, Comicfans Co., Ltd. This study aims to process a triangular qualitative research in the form of integrated qualitative research in terms of more comprehensive triangular formats. Furthermore, this study expands coopetition theory into entrant vs. incumbent under disruptive technology context and reveals how an incumbent-built competitive forbearance and formed coopetition with disruptive technological entrants by intra-industry integration (upstream and downstream) and cooperation (exploration and exploitation). When the disruptive entrants are in upstream substitution and show extension downstream, incumbent companies can adopt a strategy of diversified integration of downstream channels and cooperation with upstream entrants to increase the multi-point advantage and resource symbiosis in the downstream sectors against the entrants to obtain competitive priorities. When disruptive entrants are in downstream substitution and show an extension to upstream, incumbent companies can adopt a strategy of diversified integration of upstream product/business and exploitation cooperation with downstream entrants to improve the multi-point advantages and resource complementarity in the upstream sector against the entrants so as to obtain competitive priorities.

Analysis on the development and influencing factors of animation industry in China

With the arrival of the new media era, animation has become an important way of entertainment. This article first from the animation industry output value and imports, analysis the current situation of the development of animation industry, then take the measurement model of stepwise regression to analyze the influence factors. The empirical results show that our country animation industry output value and the national culture and related value added of industry were positively correlated, and negatively correlated with animation TV imports. Finally, this paper puts forward countermeasures and suggestions from three aspects of grasping consumer demand, creating extreme animation and innovating business model.

Research on the Teaching Model of Animation Professional Class Based on AR/VR Technology and 5G Network

The use of emerging technologies is becoming more common in today’s world, and as media integration deepens, so does the use of virtual reality technology. As an emerging science and technology, VR/AR technology plays a critical role in society’s development and progress, and its application in current education and teaching has become an indispensable link. The production of high‐quality animation professionals is the society’s and the animation industry’s urgent need for talent, the precondition for the prosperity of cultural and creative industries, and the foundation of national soft power. To bring more technical changes to education and provide theoretical support for the realization of human‐computer interaction technology, this paper mainly elaborates on the concept and application fields of VR/AR technology and discusses the specific applications of VR/AR technology according to its different educational stages. The main point of the presentation is to demonstrate how, in the era of 5G networks, large bandwidth, ultralow latency, massive connectivity, and ultrahigh reliability provide a strong network foundation for widespread VR/AR application. We will investigate the paucity of teaching methods, teaching modes, and teaching platforms as a result of the application of 5G‐based VR/AR technology in the teaching field of animation majors, as well as the design of teaching methods, teaching modes, and experimental training platforms based on 5G‐based VR/AR technology in animation majors in conjunction with the training plan of engineering students at our university. We will delve deeper into the integration of VR/AR technology and higher education teaching, laying the groundwork for “AI+” education. VR/AR technology can be used in the classroom to present information to students in a more three‐dimensional and intuitive way, which not only increases student interest in learning but also improves the learning experience and cultivates core literacy.

Research on the Computer Case Design of 3D Human Animation Visual Experience

In the animation industry, with the development of computer software and hardware technology, a new technology began to emerge, that is, three‐dimensional animation. Three‐dimensional animation software first creates a virtual world in the computer. In this virtual three‐dimensional world, the designer builds the model and scene according to the shape and size of the object to be represented and then sets the motion trajectory of the model, the motion of the virtual camera, and the scene according to the requirements. When setting other animation parameters, we need to assign specific materials to the model and turn on lights. When all this is completed, the computer can automatically calculate and generate the final picture. The software Maya can just help animators to complete this work. When using Maya, we can apply many professional courses such as action design, scene design, and storyboarding script design that we have learned. Maya is a 3D software with convenient operability. It can combine the rendered sequence frames with AE to show unique animations. Therefore, the three‐dimensional production method is preferred in the production method. The production of animation based on the 3D software Maya brings infinite challenges. At the same time, it also helps everyone grow and has a good position for our employment direction.

Research on the Character Creation of Chinese 3D Commercial Animation Films

In recent years, China is vigorously developing the film and television animation industry. Character design is the core of animation design in this cultural industry and the key to the animation industry chain. Chinese animation once had an important position in the history of world development. However, currently, the character design of 3D commercial animation in China is weak and lacks a style with Chinese characteristics. Therefore, this article analyzes and contrasts the classic animation works of Fang, China, and the United States, explores the weakness of domestic 3D commercial animation, and uses character modeling as the research center to study the character modeling of Chinese 3D commercial animation films. Analyze the characteristics of Chinese animation in modeling design from different aspects such as social and cultural background, market economy development, and technological progress. Summarize and explore the unique style and aesthetic value of Chinese animation design. The purpose is to explore the preservation of the traditional outstanding clan characteristics and provide a theoretical and historical basis for Chinese 3D commercial animation creation and research.

Investigation of Artistic Styles for Effective Storytelling in Animation

Storytelling is a key component of the success of the animation industry, which is continuing to develop and grow. In order to effectively convey stories and emotions to viewers, artistic styles play a crucial part in enriching the storytelling experience in animation. The purpose of this study is to investigate how different aesthetic approaches affect animated storytelling. This inquiry will be carried out via a thorough examination of the many artistic techniques applied to animation. The research will cover a variety of animation approaches, such as classic hand-drawn animation, 3D computer-generated imagery (CGI), stop-motion, and experimental methods. We'll look at the distinctive traits, advantages, and disadvantages of each narrative approach. Additionally, the inquiry will explore how different aesthetic movements and narrative forms interact. Successful animated films and TV shows in genres like fantasy, comedy, drama, and adventure will be examined in order to spot trends and connections between diverse aesthetics and subgenres. This examination will illuminate the ways in which particular aesthetic choices can both move the audience emotionally and successfully convey the intended narrative elements. The inquiry will also look into how artistic approaches affect the way that animation is told and how the visual aesthetic is established. We'll look at how different styles use colour schemes, visual themes, and design principles to determine how they affect the storytelling experience as a whole. The research's conclusions will be helpful to animators, directors, and artists in helping them choose the right aesthetic expression for achieving their narrative goals. The findings will also advance knowledge of how aesthetic decisions affect viewer engagement and emotional resonance in animated narratives.

The Synergy of Animation and Tourism Industry: Myths and Ideologies in Mickey Mouse’s Traveling Adventure

The tourism industry circulates signs through its synergies with other cultural industries, such as film, music, museum, video gaming, and the sports industry, to name but a few. This paper aims at exploring the creation or preservation of tourist myths and ideologies through the cartoon industry following the travel experiences of one of the first and most widely known animation characters, Mickey Mouse, in animated films such as the Hawaiian Holiday (1937), Mickey’s Trailer (1938), Mr. Mouse Takes a Trip (1940), On Vacation with Mickey Mouse and Friends (1956), Croissant de Triomphe (2013), Tokyo Go (2013), Yodelberg (2013), O Sole Minnie (2013), Panda- monium (2013), Mumbai Madness (2014), O FutebalClάssico (2014), ¡FelizCumpleaños! (2015), Al Rojo Vivo (2015), Turkish Delights (2016), Entombed (2016), Dancevidaniya (2016), Locked in Love (2017), or Shipped Out (2017). In terms of methodology, this study of animated films and images will be conducted with the help of Greimas’ semiotic square combined with Roland Barthes’ writings on myth. The main objective of such research is to trace the tourist myths and ideologies that the animation industry proposes and highlights. The focus will therefore be on outlining any simplifications, stereotypes, and boundaries regarding tourist image-brand production, as well as foregrounding the creative practices and invitations to co-productions of meaning offered to young gazes, that is, those of future travelers.

Research on the Operation Scheme of Chinese Animation Film Industry

Although China s animation industry has been developing for a long time, it has been developing slowly. With their own continuous efforts to slowly find the direction. In recent years, China s animation industry has developed rapidly, and more and more excellent original domestic animation films have appeared. Behind the success of these animated films is not only the improvement of the quality of animation itself, but also the success of cross-border integration of the animation market. Judging from several successful low-budget animations and successful animated films in recent years, the success of animation requires not only high-quality animation production, but also the basic factors of the market. The development of Chinese animation in recent years is due to those successful animation works. However, in view of China s huge market, the market demand and commercial value of the animation industry are relatively large, so the number of excellent animations is far from enough, and the market needs more excellent animation works. From the animation development process to find experience and improve the animation industry development methods. This paper mainly analyzes the development process of China s animation film industry market, seeks experience from the relatively successful animation and puts forward feasible plans.

Rubber Hose Animation: The Exploration towards the History and Understanding of Animation Industry.

Rubber Hose Animation: The Exploration towards the History and Understanding of Animation Industry.

Research on the Copyright Protection of Online Animation from the Perspective of the Internet

For a long time, Chinese animation under the monopoly of TV channels is experiencing the innovation of this new technology of the Internet, creating a new platform economy and ecosystem, but it is undeniable The Internet is a double-edged sword for the Chinese animation industry. Based on the openness of the network operating environment, the problem of network infringement has become increasingly prominent, and the phenomenon of online copyright infringement is particularly serious.Under the Internet environment, the weak power of animation industry in the link of animation copyright protection is one of the important reasons hindering its sustainable development. This article analyzes the difficulties of online animation copyright protection in my country’s Internet environment and proposes corresponding protection measures, which has certain reference significance for the establishment of copyright protection, content payment and other Internet ecosystems.

Transmedia storytelling in the Malaysian animation industry: embedding local culture into commercially developed products

ABSTRACT This paper examines the emerging adoption of transmedia storytelling practices among producers in the Malaysian animation industry and the connection to the public aspiration of preserving and promoting Malaysian culture both locally and internationally. The study outlines the argument that the adoption of transmedia storytelling is the result of an active exploration of the effective usage of multiple mediums for content dissemination. The subsequent discussion shows that locally developed products such as Kampung Boy, Upin dan Ipin, BoBoiBoy, and Ajen Ali not only possess universal traits of transmedia narratives but also have embedded strong local content pertaining to Malaysian cultures and values. We suggest that while animation producers may take on a production logic that mimics certain Western practices or models in order to be both relevant and competitive, the Malaysian industry has developed its own unique approach to transmedia storytelling. We conclude that Malaysian animation practices are the by-product of a collaboration between the private sector and government incentives and policy guidelines.

Research on the Development and Innovation of Animation Industry in Jilin Province in the Internet Big Data Era

China has entered the era of informatization of big data on the Internet. The Internet has subtly influenced people’s study, work and life, and even influenced the process of social development. At present, China is moving from a big Internet user country to a strong Internet technology country. The development of the Internet industry has been scaled up, and its application field is gradually becoming multi-dimensional. Today’s animation industry, as a new format for the development of cultural and creative industries, is facing business opportunities and challenges. Traditional communication methods have been unable to meet the development needs of the market, and animation companies have begun to turn to the field of new media networks. Europe, Japan and developed countries such as the animation industry development history tells us that the animation industry development not only is relying on the overall planning of the industrial chain, rational distribution, but also the full use of the Internet in big data, the development of new media technology to build a platform for the development, transformation and upgrading Industrial operation model.

Research on GPU-based Real-time Smoke Simulation Volume Rendering Algorithm

With the continuous development of the current film industry and animation industry, in the current smoke simulation, based on the use of GPU, real-time smoke simulation can be realized, so that real-time smoke simulation can be enhanced to achieve more smoke simulation. The ideal effect makes people have a better visual experience. The purpose of this article is to study the GPU-based real-time smoke simulation volume rendering algorithm. This paper proposes a method of setting different transfer functions based on different positions of the imaging plane. By setting different transfer functions for different positions of the imaging plane, different tissue structures can be drawn at one time for comparison and observation. However, setting different transfer functions based on the coordinate information of the imaging plane cannot fully display the volume data information. This paper implements a method of setting different transfer functions based on different spatial positions in the object space, and sets different transfer function schemes for the region of interest in the object space. Highlight, rotate or zoom the drawn object to observe the structure of the region of interest at any angle and size. In addition, this paper realizes the rapid volume cutting of volume rendering results, which is convenient for observing the organization structure information of the occluded position or designated area. Experimental results show that the algorithm in this paper can be used to control the random motion of smoke in three-dimensional space in virtual and real scenes, and can complete various interactive simulations of smoke and obstacles.

Reviewing and Updating the 12 Principles of Animation

This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.

Anime, globalización y adaptaciones

La globalización como fenómeno propio de la modernidad ha permitido una ruptura entre los límites que antes creíamos infranqueables. Culturas, personas, dinero, mensajes y políticas viajan por el mundo y se entrelazan en complejas relaciones transnacionales. Lo mismo sucede con los discursos, fuente de los significados que circulan entre los sujetos y que dan sentido a sus prácticas. En la actualidad, el mundo del manga-anime se ha visto asaltado por un constante intento de adaptar los éxitos y temáticas de estos productos a la lógica de la industria cinematográfica occidental. Teniendo en mente lo dicho, nos proponemos aquí un análisis del fenómeno de las adaptaciones. En la primera parte reconstruiremos el entramado histórico-comercial que ha tenido la industria del anime y su relación con el mercado occidental; en la segunda, buscaremos analizar brevemente la cinta Ghost in the Shell de Mamoru Oshii (1995) y su adaptación Ghost in the Shell: La vigilante del futuro de Rupert Sanders (2017). Con el objetivo de interpretar cómo los cambios en ambos filmes repercuten en los sentidos que proponen ambos discursos.

The Contribution of Different Body Channels to the Expression of Emotion in Animated Pedagogical Agents

Pedagogical agents are animated characters embedded within an e-learning environment to facilitate learning. With the growing understanding of the complex interplay between emotions and cognition, there is a need to design agents that can provide believable simulated emotional interactions with the learner. Best practices from the animation industry could be used to improve the believability of the agents. A well-known best practice is that the movements of limbs/torso/head play the most important role in conveying the character's emotion, followed by eyes/face and lip sync, respectively, in a long/medium shot. The researchers' study tested the validity of this best practice using statistical methods. It investigated the contribution of 3 body channels (torso/limbs/head, face, speech) to the expression of 5 emotions (happiness, sadness, anger, fear, surprise) in a stylized agent in a full body shot. Findings confirm the biggest contributor to the perceived believability of the animated emotion is the character's body, followed by face and speech respectively, across 4 out of 5 emotions.

Women in the animation industry in Spain: the oeuvre of female filmmakers of feature films

<p>En la industria del cine español, únicamente tres mujeres han dirigido largometrajes de animación. Su obra, condensada en las últimas tres décadas, representa un siete por ciento de la producción total de los más de cien años de historia del medio. En este trabajo analizamos el trabajo de Maite Ruiz de Austri —pionera en el sector—, Virginia Curiá y Agurtzane Intxaurraga con el objetivo de identificar los elementos de confluencia en el total de ocho películas largas que forman parte del corpus. En primer lugar, se ha observado una tendencia a dirigirse a una audiencia infantil, con una clara vertiente educativa. Asimismo, se ha podido constatar cómo emergen rasgos comunes en torno a temáticas como la maternidad, la vida profesional, la corresponsabilidad o la condición de la mujer. Este artículo está encaminado a visibilizar el trabajo de las directoras españolas de largometraje y a explorar la influencia del género sobre el contenido.</p>

Curriculum Management and Graduate Outcomes in the Animation Game Study Program

The Animation Study Program is part of the Art and Design degree from the Faculty of Letters State University of Malan. It is designed to offer guidance to professional beginners in the animation world and applied media, allowing graduates to apply for roles such as a 2D/3D Animator,Character Designer, beginner Developer in Animation Industry, Game Designer/Multimedia, beginner Developer of Game Industry, Game Asset Designer. The graduates from Animation program study gain particular expertise in 3D animation games and using Indonesian local culture. The course also emphasizes education-based animation games in global context and insteal entrepreneurship for the graduates. The goal of this study is to analyze the curriculum and graduate achievement in the animation game study program. This research used a qualitative study case with a descriptive approach. Documentation and interviews were used to collect data. The analysis of data used a descriptive approach. Results of the study show that the curriculum used in Animation Game program is designed based on the graduates in diploma D1, D2, D3, and D4. They are in D1 (Asset Game Operator), D2 (Young Asset Game Designer), D3 (Young Game Designer), and D4 (Senior Game Designer). Meanwhile, the animation field is divided into D1 (Asset Animation Operator), D2 (2D/3D Young Animator), D3 (2D/3D Senior Animator), and D4 (2D/3D Lead Animator).
 Keywords: Curriculum, Graduates Outcome, Animation Game

Tags de cor para identificação de cenas animadas em roteiro, Storyboard e Animatic

A indústria brasileira de animação passa por momento de estímulos para sua produção, mas as oportunidades de financiamento e exibição não ponderam acerca dos métodos que cada estúdio utiliza para desenvolver as obras. O presente artigo traz uma proposta, por meio de tags de cor, de integração de três momentos da pré-produção (roteiro, storyboard e animatic), apresentando uma alternativa de identificação de trechos planejados nessas etapas, buscando economia de tempo ao conectar estratos narrativos de diferentes fases.

Research on 3D Animation Design Based on VR Technology

Judging from the initial time of animation production, China started relatively late in this area. Driven by the advancement of computer technology and social needs, 3D animation and virtual reality technology have made significant progress. Domestically, it has achieved good results in the production of three-dimensional animation, and has been widely used in various online games and many TV works. Virtual reality technology has diversified development forms. Compared with traditional three-dimensional animation technology, it has obvious interactive and real-time characteristics, and can bring the audience a good perception experience in many aspects. The application of virtual reality technology in the creation and design of 3D animation can break throughly improve the interactivity of 3D animation, which is beneficial to promote the animation industry to a higher level. Under the current circumstances, the integration of technology and media is in a stage of rapid development. One of the important directions of future animation art creation is virtual reality immersive content, which is increasingly noticed by the society. This article introduces the basic characteristics of virtual reality technology and three-dimensional animation design, studies three-dimensional animation design based on VR technology, and analyzes the application of virtual reality technology in three-dimensional animation design; We discuss how to give full play to the advantages of virtual reality animation interaction within the scope of existing technologies, analyze the narrative laws, and provide references for the use of virtual reality technology for three-dimensional animation creation.